In the closing credits of Acorn Antiques, wobbling diagonally across the screen, it says the part of Berta was taken by “Victoria Woods”. Has there ever been a lovelier, truer typo? There was only one Victoria Wood, and yet she seemed somehow to be plural. She wrote and performed sketches and sitcom, songs and stand-up, musicals and drama. She directed, she produced.

The sketch format goes in and out of favour. It was huge in the 1970s, crawled under a rock when alternative comedians found other means of expression, and was reinvigorated 20 years ago by genuinely inventive shows like Big Train and The Fast Show. Since then, easily the biggest kid on the block has been Little Britain, which married mainstream appeal with a flair for subversion.

Catherine Tate's television sketch shows - apart from a couple of specials devoted to her character Nan Taylor - were last screened in 2007, and she hasn't performed comedy live since her early days at the Edinburgh Fringe. So it was particularly good news for fans when she announced her first live UK tour.

Even if the evening had turned out to be rubbish, there was always going to be a warm welcome for Vic Reeves and Bob Mortimer's return to live performance with 25 Years of Reeves & Mortimer: The Poignant Moments. Aside from the obvious room for nostalgia, Mortimer almost didn't make it; this tour could start only after he had emergency triple bypass surgery last year. Thankfully, it hasn't affected either his or Reeves' gift for utter silliness, as their appearance at Dave's Leicester Comedy Festival proved.

Tracey Ullman is, I suspect, virtually unknown to anybody who either wasn’t around in the 1980s or isn’t a student of that decade’s comedy. For those in either camp, she was a very big name in British television before she left the UK to live and work in the United States – where, incidentally, she became part The Simpsons story (its creators worked on one of the shows she did in America).

Diane Chorley, Underbelly Potterrow ★★★

Diane Chorley is the former owner of The Flick nightclub in Canvey Island, Essex. Back in the 1980s it was the place to go, and celebrities – from Michael Barrymore to George Michael and Mick Jagger – used to pass through its doors. In fact, it was David Bowie who gave her the title "Duchess of Canvey".

Katherine Ryan, The Stand ★★★★

"TV's Katherine Ryan," she introduces herself with heavy irony; the Canadian has gone from Fringe performer to never off the telly in just a few years and knows that the sobriquet can be both a compliment and a drawback. Yet when her waspish humour is such good value it's easy to see why producers love her.

Many of the audience for An Evening with Noel Fielding were still in nappies when the comic first plied his trade as one half of The Mighty Boosh with Julian Barrett, which started life on the Edinburgh Fringe in the late 1990s and quickly became a cult hit.

Chris Turner: Pretty Fly, Pleasance Courtyard ****

This is Chris Turner's debut show as a stand-up, although his previous experience in improv group Racing Minds gives him a wonderful assurance on stage and an easy rapport with his audience.

Bridget Christie: An Ungrateful Woman, The Stand *****

This is the “difficult second album” show for Bridget Christie, despite her having done 10 years at the Fringe. She finally found her voice at last year's festival, deservedly winning the Edinburgh Comedy Award after a raft of five-star reviews for her avowedly feminist show, A Bic for Her - but how do you follow that? With another five-star show, obviously.